Melancholy

CC0 Public Domain Designation

Prints and Drawings

1876

Odilon Redon
French, 1840-1916

Status: Currently Off View
Department: Prints and Drawings

Artist: Odilon Redon
Title: Melancholy
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1876
Medium: Various charcoals and gouache, with pastel and black chalk, and touches of stumping and erasing, on pale-pink wove paper with red and blue fibers altered to a golden tone, laid down on gray wove paper
Inscriptions: Signed lower right, in black chalk: "ODILON REDON,"
Dimensions: 36.8 × 35.7 cm (14 1/2 × 14 1/16 in.)
Credit Line: Margaret Day Blake, Mr. and Mrs. Henry C.Woods, and William McCallin McKee Memorial Endowments
Reference Number: 1982.87
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/96841/manifest.json

Joris Karl Huysmans, “Le salon officiel de 1881,” and “Appendice,” L’Art Moderne (1883), p. 300.
Jules Destrée, “Odilon Redon,” La Jeune Belgique (February 1, 1886), p. 133.
Jules Destrée, L’Oeuvre lithographique de Odilon Redon, Catalogue descriptif (Brussels, 1891), p. 10.
“À Rebours (1883),” Oeuvres complètes de J. K. Huysmans 7 (Paris, 1929), p. 97.
G. Vanwelkenhuyzen and J. K. Huysmans, Lettres inédites à Jules Destrée (Geneva, 1967), pp. 67-68.
World Collectors Annuary XXXII (1980), p. 287.
Wolfgang Wittrock, “Neuerwerbungen Graphik Zeichnungen,” no. 6.
Martha Tedeschi, Great Drawings from the Art Institute of Chicago: The Harold Joachim Years, 1958-1983 (Chicago, 1985), p. 154 (ill.).
Rick Brettell, Post-Impressionists (New York, 1987), pp. 51, 54 and 119 (ill.).
Dario Gamboni, La Plume et le Pinceau, Odilon Redon et la Litérature (Paris, 1989), (ill.).
Alec Wildenstein, Odilon Redon, Catalogue raisonné de l’Oeuvre Peint et Dessiné 1 (Paris, 1992), p. 233, no. 593 (ill.).
Oktavia Christ, “Wiederentdeckung eines Mystikers,” Kunst und Antiquitäten (December 1994), p. 15 (ill.).
Alec Wildenstein, Odilon Redon, catalogue raisonné de l’œuvre peint et dessiné II (Paris, 1994), no. 593.
J. Siegel, The Private World of Marcel Duchamp (Berkeley, 1995), p. 51 (ill.).
Manuela Kahn-Rossi, Odilon Redon: La Natura dell’Invisibile (Milan, 1996), p. 81 (ill.).
Anne Leonard, The Tragic Muse: Art and Emotion, 1700-1900 (Chicago, Smart Museum of Art, 2011), fig. 14, pp 26-27, 30.

The Art Institute of Chicago, “Great Drawings from The Art Institute of Chicago: The Harold Joachim Years 1958-1983,” July 24-September 30, 1985, pp. 154-155, cat. 70 (ill.), cat. by Martha Tedeschi.
The Art Institute of Chicago, “Odilon Redon, The Prince of Dreams 1840-1916,” July 2-September 18, 1994, cat. 40, cat. by Douglas Druick, et. al; also traveled to Amsterdam, the Van Gogh Museum, October 20, 1994-January 15, 1995; and London, the Royal Academy of Arts, February 16 –May 21, 1995.
The Art Institute of Chicago, “The Broad Spectrum: Color on Paper, Past and Present,” September 12–October 31, 1999, hors. cat.

Sold to Count Giuseppe Primoli (d. 1927), Rome, before January 1886 [Chicago 1994]. Sold, Hôtel des Ventes, Enghien, October 28, 1979, lot 114. Sold, Sotheby’s, London, March 26, 1980, lot 164. Sold by Wolgang Wittrock, Düsseldorf, to the Art Institute, 1982.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.